• Congrats and kudos to the fine folks from Film Threat magazine who contributed $1500 to Japan disaster relief for the rights to post the Stephen Root character poster from the film. Hit up their site http://www.filmthreat.com/news/33325/ to view it and for specific thanks to those who chipped in.

  If youíre a movie website or film journalist and you want to feature this poster or use it in a story, donít be a detail-thin dick.

  Be sure to tell people WHY the poster was released: because (Gavin Apí Morrygan (@Tearsinrain78), Darryl Clarke, Jamie Calder (@jamiecalder), Dan Duffy (@TheHalfFund), Heath C. Ice (@hcice) and FilmThreat.com (@filmthreat)) bid $2050 to earthquake and tsunami relief for Japan.

  If you also include the link for Japanese earthquake and tsunami relief (http://www.redcross.org/) in your story/article, youíre not only being a thorough journalist, youíre also helping to save actual lives.

  It only takes a few seconds longer to provide all available facts in any story.

  Including THIS fact can help save lives.

• The list of “Red State” reviews continues to grow, available at the Coopers Dell site. These are all unedited, fan-written takes on the film, from anyone who has attended any of the tour screenings. If you’ve seen it on the tour, send YOUR review to ming@coopersdell.com along with a shot of your ticket stub and have your voice heard. No reviews refused!
• Feeling artistic and want the chance to see an upcoming “Red State” tour stop for FREE? Details in Kevin’s latest Red Statements blog on how you can submit your own one-minute musical composition, for future use in SModcast broadcasts, and get into a show for free.
• Kevin stopped by Los Angeles’ KTLA to drop some innuendo and promote the “Red State” tour in this 5 minute clip. Not as much of a rush this time, and some fantastic promotional stuff for the film, the L.A. stop of the tour, and the upcoming shows at the Lovitz.

Tonight, the tour rolls into the great city of Denver, Colorado. You last-minute folks can still snag your tickets — Those not attending can follow a live tweet from Kevin this evening, under the hasg tag #SMileHigh. We hope to hear of many News Askew readers flooding the audience!

You can also snag tickets to the April 29th Morristown, New Jersey gig and get details on three more stops in Kansas City, Milwaukee, and Chicago this May. Get all the info and ticket sales links directly at the official event site.

Kevin continues to put out a different, fantastic, unpredictable and hilarious show every time he stops somewhere on the speaking tours. If you’re looking for a different, fun way to spent an evening on the town, look no further.

Chris and Dave chatted about RED STATE, his probable involvement with HIT SOMEBODY, that still untitled father/son sci-fi space comedy, and CLERKS 3.

AN INTERVIEW WITH DAVID KLEIN

BY CHRIS GRAVES

CHRIS GRAVES: For those who do not know, what is your background and how were you introduced to the world of View Askew and Kevin Smith?

DAVID KLEIN: Kevin Smith, Scott Mosier and I all met at the Vancouver Film School. Kevin dropped out to save the rest of his tuition to make Clerks, while Mosier and I finished the program. Shortly after that program ended, I was in Seattle working as a camera assistant and Kevin sent me the script for Clerks. Nobody else was going to let a 20 year old, inexperienced punk like me shoot a movie, so I took the last 500 bucks I had in the bank and bought a ticket to New Jersey.

CG: What inspired you to become a director of photography?

DK: When I first started studying film, I thought I wanted to be a director. But shortly after getting to film school and learning what it was that different types of filmmakers did, I understood that I was always thinking in terms of what a cinematographer does, not a director. I was thinking in terms of camera movement, lighting and composition to tell the story, not authoring performances. I had also had a small amount of experience shooting 35mm still photography and 16mm motion picture films, which naturally let me in that direction also.

CG: You’ve acted in a lot of Kevin’s movies as well. Did you have a favorite appearance? And would you act again if asked?

DK: No and no. That ship has sailed.

CG: Can you describe your working relationship with Kevin? Is there a certain process that the two of you go through on every project?

DK: We have a true, unspoken language when we’re on a set together. Adam Siegel, one of the producers on Cop Out, noticed after seeing Kevin and I work together for a few days that “Klein cares about everything Smith doesn’t” which is somewhat true, but that simplification doesn’t give Kevin enough credit. He has really cared about what his films look like for quite a few years now.

We basically start every film by sitting together and going through the entire script in order to put a shot list together. Some scenes that we’re really familiar and comfortable with, we skip. Some we get very specific with. Because of our approach to Red State, although we had a shot list for the entire movie, we rarely referenced it. But we always attack the scene with the same intent even if we’re not actually following our predesigned shot list. He is one director that leaves me completely alone when it comes to lighting. Which, again, is not to say that he isn’t interested in the way his films look, he is. But in terms of how I’m using the lighting to help tell the story, he leaves that all up to me.

CG: Where did you come across the term “dutch rudder” which was refered to in ZACK AND MIRI MAKE A PORNO?

DK: In college, baby.

CG: Will the public ever get to see the often mentioned WILLAM BLACK short film that you shot with Scott Mosier back in film school? If not can you shed any light on what that short was about and why it hasn’t been released to this point?

DK: I doubt it will ever come out. It’s a short film owned by the film school, so there might be a lot of nonsense in getting it put out somewhere. I selfishly hope it doesn’t get out because it was one of the first things I ever shot, and it looks like it. But I was quite proud of a dolly we created for a scene where the camera and the actor were on the same platform that could spin around 360 degrees for 4 or 5 rotations. i had recently been influenced by Talk Radio and was stealing a shot from that movie.

CG: What format do you prefer, digital or film? And do you think there will come a day when film is completely phased out in favor of digital or something else entirely?

DK: I still prefer film. The latitude, resolution and grain are what I love about film. There’s also a way that these things work together that makes film the format I always want to use. But, digital is getting much better and I’m a huge fan of the Red One MX sensor. I think it’s definitely one of the best digital cameras out there and in a Lustre DI suite, it pushes around and color grades more like film than any other digital camera I’ve had my hands on. The day where film is phased out is coming, but it won’t be phased out by something better, it’ll be phased out by something cheaper. And that’s kind of heartbreaking.

CG: Do you have any desire to write and/or direct your own feature someday?

DK: No. I don’t have anything to say as a director right now.

CG: What was your experience like on the movie VULGAR? How does Bryan Johnson’s style of directing compare to Mr. Smith’s?

DK: That was a long time ago. All I can say about Vulgar is that I was a cinematographer who didn’t know what I was doing, but thought I did. Which is a very dangerous place for an artist to be, because you make arrogant decisions. I think a lot of that movie looks good, especially considering the budget – but a lot of the look of that movie comes from a place that was self serving and not necessarily best for the film. Arrogance sometimes comes along with youth and inexperience – but I’ve learned a lot since then.

CG: What can we expect from RED STATE, Kevin’s upcoming political horror film, in terms of the look and mood? Old school 70’s grain or crystal clear modern day cinematography or somewhere in between?

DK: I think it’s somewhere in between. We shot the entire film handheld, and I gave the lighting a singular voice that, I hope, matches a handheld camera. The lighting isn’t as refined as some of the work we did on Zack and Miri or Cop Out – it’s a bit more simple than that. But I think there’s a elegance to simplicity sometimes, just like there’s an elegance to a well operated handheld shot – which I hope we have a lot of. The look of the movie was facilitated by a number of factors, two of which were budget and time. When you don’t have the budget to take the time to light a film the way you see it in your head, you have to come up with something else. So the look of Red State comes from a creative place, but there were other factors that pushed it further in the direction it ended up going. I’m very proud of the work and happy with the way it turned out. I’d say it’s got some grit to it but there’s nothing in it that feels forced to me.

CG: Will you be involved with HIT SOMEBODY and Kevin’s untitled sci-fi father/son space comedy?

DK: Absolutely. Where Kev goes, I go.

CG: Do you have any new projects coming up besides RED STATE?

DK: I’m currently prepping season 4 of True Blood. I’m an alternating cinematographer on the show this season, so I’ll be shooting 6 of the 12 episodes.

CG: And finally, can we expect to see you behind the camera for CLERKS 3 somewhere down the line?

DK: Where Kev goes, I go.

Much thanks to Dave and Chris for the interview — It’s been fantastic seeing Dave’s work progress over the years, and a testament of loyalty on both he and Kevin’s part that the two continue to work together today.

Chris has done some fantastic work for us over the years, and tells us that he’s lined up a few more great exclusives that we’ll be sharing in the coming weeks. Thanks to Chris for his continued contributions — Be sure to check out the full series of interviews if you’re new and missed any from the past.

…Pretty much every thing you need to know about their profession and relationship comes across in that short conversation. Ever since I saw Chasing Amy, I’ve frequently used that as an excellent example of how a film can build character by showing people going about their jobs. Seldom in movies or television shows do you see people actually working, unless they’re surgeons, police officers and trial lawyers.

So when I finally got Kevin Smith on the phone, I briefly told him about that, and it said, “That rocks. It gives me chills to hear you say that. Chasing Amy came out in 1997, so it was 1996 when we filmed it. I remember that day, and how we started the scene with just the phone ringing. Then I thought about it and said, ‘Hey, start out by saying something about his work. Compliment his lamppost,’ and that’s what we used. For you to remember that and say something 15 years later, that’s where the payoff is.”

• We’re getting closer to an official announcement of a UK (and maybe other regions) “Red State” screening. And yes, it will also include a live Q&A with Kevin after the film. Details soon.
• The great Michael Parks himself will be in the house for the April 9th Wiltern screening in Los Angeles, marking the end of the US tour.
• We hear that the Austin Film Society on Facebook might have a way to get you some cheap tickets for the big show tomorrow. Fan them and hit them up for details.

Yes, this Monday, the great movie city of Austin, Texas takes a look at “Red State”, then it’s on to Atlanta, Georgia on Tuesday. Next week, it’s on to
Seattle and Los Angeles. Tickets still available through www.coopersdell.com — Get there and be a part of film history.

The other news item that I hadn’t seen mentioned anywhere was the reveal that Jason Mewes was producing (yes, you read that right) an animated Bluntman & Chronic feature film that would be released online in serial form. As I’m sure you remember, Bluntman & Chronic were comic book alter egos of Jay and Silent Bob that make their first appearance in Chasing Amy

In fact, the whole plot of Jay and Silent Bob Strike Back revolves around Jay and Silent Bob making their way to Hollywood to stop production of a Bluntman & Chronic movie. I guess you can say that life is imitating art yet again. I’m really excited to see what Jason Mewes will do with the project. He’s come a long way personally and professionally and this would be a home run and a way to keep the View Askewniverse alive.

No word yet on an ETA, but this one sounds like a very real possibility. If we get details on production starting, a potential venue on the web for it (S.I.R.’s first video offering, perhaps?), you’ll know via News Askew.

Lovitz & I are gonna be doing a weekly podcast at The Lovitz called THE ABC’s of SNL. I’ll interview him about ALL his SNL memories. Then, when he’s done, he’ll interview someone else from the show: like Carvey or Nealon. Then, that person interviews someone else from the show. Cast, crew, writers – ANYBODY connected to SNL. Starts this JUNE – only at The Lovitz! Or hear it every weekend – only on S.I.R! On May 9, S.I.R. is gonna change the SMuniverse!

After the tour, Jon & I kick off a new show called TheHarveyBoys. The Harvey Boys podcast will be @TheJonGordon & I telling our first-person history of Miramax Films, circa 92 to 2008. We’ll drive the story but we’ve also talked to our friends who’ve worked at the ‘Max about guesting turns. Our list thus far is LONG, as you’d expect. The idea is to create a comprehensive oral history of the grand ol’ dame of indie cinema from people who worked there, in front of & behind the cameras. And The Harvey Boys will be sponsored, naturally, by RED STATE. As you can see, the S.I.R. programming schedule is filling up nicely…

Alright, but that’s all still a little under 2 months away, right? What can we do for you TODAY, you ask? How about these tidbits:

This Friday, Kevin’s back at the Lovitz with Ralph Garman and Jay Mewes for live editions of “Babble On” and “Jay & Silent Bob Get Old”. Tickets now on sale for both, and easily one of the coolest (and cheapest) ways to spend a Friday night in LA.

Scott Mosier makes his first appearance at the Lovitz Theater on Universal Citywalk as part of SModcast 3D on March 23rd and April 17th. At just $20 for each show, these will almost certainly sell the place out so don’t delay. The original SModcast duo are sure to pack the room with laughs.

For those of you not in the Los Angeles area. catch up with the latest downloads: SModcast cast #160 goes retro with a an episode called “In Convenience” – Look back in time at possibly the first EVER recorded SModcast-ish episode in history. Ralph Garman’s back for another edition of Hollywood Babble-On, celebrating their 25th podcasted episode. As always, FREE!

Here’s what we know so far — 4 to 6 hours of live programming featuring Kevin are scheduled for at least the first month. Two shows, one titled “SMoring”, which will run and be modeled after radio and TV morning talk shows, will run for 2 hours each weekday. Then, during the afternoon, a new 2 hour show from noon ’til 2 with co-host Jason Mewes (tentative titles are “Jay & Silent Bob FM” or “Jay & Silent Bob Get Jobs”. Like the pre-recorded shows, live shows will also be available for download, shortly after the live broadcast concludes. We also assume that the times listed will be pacific, meaning that the morning show will air late morning on the east coast, and the afternoon show will likely be closer to drive time here in EST.

Fans will also have the chance to break into the business. Kevin’s planning to give podcasters all across the web their chance at having a block of time on the network as well. Good ratings/reviews? Maybe you’ll become a part of the family. Big news for anyone out there running a good show right now.

Best of all, everything will remain 100% FREE for YOU, the listener. No subscription fees. The entire network, including the live broadcasts, will be ad-supported, so while you will hear commercials, what you won’t see is a monthly bill in your mailbox. It doesn’t cost you a dime.

Plans for a mobile app are underway, which will give you the chance to take SModcast with you anywhere you go — No more being shackled to your PC to listen. Anywhere you bring your phone or internet device, the SModcast app will get you to the live or pre-recorded content. Details coming up in the next SModcast.

The announcement was made exclusively on G4TV’s “Attack of the Show” where he also chats up “Red State”, the “Real Time” appearance, and lots more in a really nice, relaxed 13 minute chat.

Part 1 of 5 – “Red State” Roadshow Tour & Sales

Are you planning to make any changes to the film after the tour is finished?

I went to Sundance and watched it; that was the first time I got to see it with a real audience, and it was 97 minutes [long] at Sundance. And when I sat in the back, I sat down to watch it as a director at work, seeing it onscreen for the first time all of a sudden, I put my editing cap back on, and I [said], ‘Why did I keep that? Ooh, I could lose that. Ooh, I should tighten this. I’m not doing anybody any good service by leaving this long.’ So suddenly, by the end of the movie I found a bunch of time that I was like, ‘Ahh, I guess I can pull more time out of it.’ But I came home, and now the cut’s, from end to end, it was 97 and now it’s 88, so I guess I pulled out about nine minutes. And it runs so damn fast right now. I mean, from picture to picture you’re talking about 81, 82 minutes, and then you’ve got about six, seven minutes of credits in the back end. So it’s a lean, mean fighting machine, to borrow from John Candy back in Stripes.

Part 2 of 5 – International Distribution, Indie Film

Is there a similar plan for international distribution for Red State, or will that depend on how this tour does?

What a good question. No. It was never a factor for us. Our logic, and when I say ‘us,’ I mean me and Jon Gordon, my producer on the movie and my partner, and The Harvey Boys, which is the company we made the movie with. We always felt like if we do this we don’t even know how to release a movie in the United States, let alone elsewhere, you know what I’m saying? Let alone outside the country. So we trained under the Weinsteins, you know, he (Gordon) worked on Harvey [Weinstein]’s desk for years before he became a creative exec and whatnot. We were like, letís just do what Bob [Weinstein] and Harvey always did. Basically, keep the movie domestically, and just sell it off internationally.

Part 3 of 5 – Looking Back, Haters, Tweeting

How many tweets would you say you post each day?

I don’t know; it ranges, man. It kind of depends. Learning Twitter is a personal experience for everybody, but I had to learn how to do it without overwhelming people, and some people are like, ‘Are you kidding me? You write too many tweets now,’ but it used to be way worse. And I figured out how to do it in ways, and it also depends what you’re tweeting. Like, at the end of the day, they will forgive you 100 tweets in a row if the content is real. Somebody asked me a question where I’ll do these things called SMonologue, where I answer back, and it should be a blog, but Iím doing it there in Twitter, in real time and some people like reading it that way; it’s just fun for me to do it that way; something of a challenge, figuring out how to express yourself 140 characters at a time.

Parts 4 and 5 are coming later this week. Stay tuned! One of the best Q&As we’ve read in a long time, so be sure to click over.